A New Wrinkle In The Case of The Male Nude Painting

Well, never say never. There has been a new wrinkle in the identification of the Artist responsible for the Male Nude Academic Painting currently at the Conservationist Laboratory for restoration. The possibility of heading back to square one in now conceiveable. I received an email this morning from the kind lady in France, Arlette, who sold me the painting and she has developed some interesting information regarding the possible identity of the "Raoul le Boucher" written on the surface of the painting. According to Arlette there was indeed a very famous French wrestler around 1900 named Raoul le Boucher...."Raoul the Butcher", a name reflecting his talents in the ring I suppose. Above is a side by side comparison of a photograph of Raoul le Boucher dating around 1900 and the head of the model in the painting. I would not be surprised if le Boucher did actually pose for the life Drawing and Painting classes at the Ecole des Beaux-Arts. Gustave Moreau had a very respected reputation and would have attracted some famous models for his classes. Also above is cover art from a 1906 publication featuring Raoul le Boucher taking down a Russian wrestler. Take a look at the above photographs and let me know what you think.

I am not really convinced the model is a young Raoul le Boucher. The muscularture of the model in the painting and the part of the hair in particular does not fully match the later photographs. I am more likely to believe the Raoul le Boucher refers to Raoul le Gardier. This is typical when trying to trace the origin of any artwork, something one brings away from watching Antiques Roadshow. Over the years family myth most likely hides the truth. After looking at that color pallette on this painting and the similar color palette on le Gardier's later works that this fine academic work is more likely by his hand.

The Works of Raoul du Gardier

I thought I would list several examples of Raoul du Gardier's works along with the Academic Male Nude that is out for restoration before we get started on a review of my collected works.

Above is a selection of du Gardier's mature works. The Conservation Expert who is doing the restoration of the Male Nude described the quality of the painting and the fact that the hand that created it was indeed the hand of a master. The materials the artist used are of high quality and the work shows a knowledgeable and sensitive hand in the rendering of the model. As I listened to her describe the color palette the artist used I was enraptured by the description and her knowledge of Art materials. I could tell from the passion in her voice that I had truly found someone who appreciates art and has devoted her life to returning great art to its former glory. Soon we will begin the journey into my collection and hopefully an appreciation of these wonderful works of art that over time have been basically dismissed as "academic works" and not reflective of the artist's mature works. I really beg to disagree with that line of reasoning because these academic works are a history of the passion and skills each of these artists developed in the early stages of their career. Considering the fight you have to put up in both money and effort to obtain a quality academic nude, I would say there are many out there in the world who share my view of these works. I know from first hand that once initiated into the academic world of the nude an artist will always come back to the basics to keep attuned to their roots. Enjoy, and let's get started on our journey........

Works of Art Coming from Europe

Above is an interesting "appropriation" of the drawing below that is coming from Milan, Italy after the first of June. The obviously computer generated photograph is by Giacomo Lorenzo, Maryland, who has used a single image from the Tamburini, Jr. drawing in his own creation. "Appropriation" is an age old technique in art and has served Mr. Lorenzo well in this case.

I am excited about several works which are on their way from Germany and Italy later in the month. (illustrated above) I think my second love in art is with intaglio prints and lithography. After I took my first printmaking class I fell in love with prints, the print making process, and, along the way of amassing my collection of Academic Nudes, I have tried to add select graphic works that are not necessarily considered strictly Academic works, although I will be showing a few intaglio prints I have managed to find in that category, but which do feature the nude as the central theme. Two of my favorite printmakers are Ludwig von Hofmann (1861-1945) and Lovis Corinth (1858-1925). One of the works on its way from Germany is a color Lithograph by von Hofmann. Ludwig von Hofmann attended academies in Dresden, Karlsruhe, and Munich (1883-89). He continued his training from 1889 to 1890 at the Academie Julian in Paris where he absorbed the influence of Pierre Cecile Puvis de Chavannes. If you are familiar with the works of de Chavannes then you can see the influence in his early subject matter. In 1890 he joined Die Elf, which included such great names as Lovis Corinth (1858-1925), Max Klinger (1857-1920), and Max Liebermann (1847-1935). Hofmann combines a traditional, academic style with Art Nouveau motifs. The title of the work is Reife Fruchte (Ripe Fruit..Loose translation).

The second work is by by Italian/American artist Arnaldo Casella Tamburini, Jr. (Florence 1885 - Chicago 1936). It is a work on paper in colored chalks and is titled Two Studies Of A Seated Nude Boy Playing The Flute. Tamburini trained in Italy and is known for his portraits of famous personages. He painted Sir Wilfred Laurier, Prime Minister of Canada, and a portrait of Enrico Caruso, which hangs in the Galleria d'arte Moderna di Palazzo Pitti. As well as portraits, Tamburini painted allegorical compositions and landscape.

Academic Nude by Maximilian Spilhaczek (1876-1961)

Although I have yet to received the drawing, I still wanted to post a photograph of the work just to whet your appetite. I will photograph more details and post them later for your enjoyment. Until now this will have to do.

Good news! I just spoke with the Conservation specialist and the restoration of the du Gardier painting is within the budget and will proceed. As soon as I receive photographs of the restoration I will share them with you. I really look forward to the restored painting taking a central place in my collection.

Academic Nudes by Alexis Bafcop (1804-1895)

Yesterday (April 5, 2010) I packed up the Male Nude Academic painting by Raoul du Gardier and shipped it off to the Conservation Laboratory for what I hope is its complete cleaning and repair (provided it doesn't put a giant hole in my budget). This beautifully executed male nude deserves a new life and I look forward to posting photographs of it when it returns. I have only had it in my possession for a few days but those few days have been very enjoyable. If you would like to see the website and the conservation work of a master craftswoman please visit:

http://www.vonhawk.com/

I was very fortunate in finding Alexandra's website through the Fine Arts Conservancy website. She is highly knowledgeable and comes with a world of experience in the conservation of Fine Art. If I can afford a full restoration, I am sure she will post the progress on her website for you to see, if not, then I will post them here when I receive them. I am excited about having the work in such capable and experienced hands.

I also wanted to post photographs of the three new Academic Nude drawings on paper I recently received from France and Germany. The first two drawings are by Alexis Bafcop (1804 - 1895). Bafcop exhibited at the Paris Salon from 1831 to 1840. His works are displayed in several National Museums in France. The first drawing is signed and dated "Paris 18 December 1841." The other drawing us unsigned but by the same artist and is most probably from the same time period.

The third illustration on the next post is by Maximilian Spilhaczek (1876 - 1961) and is from the early 1920's. I do not usually bother with Academic Studies from the 20th Century simply because, in my humble opinion, the Acadame System of rigorous training had just about collapsed with the invention of Modernism and the Gallery system, and nothing coming out of Art Schools during this time could compare technically to what preceded it, but alas here is a notable exception. When I saw this drawing illustrated on the website, I was drawn to the expert hand that created it. Spilhaczek is a well known Austrian Artist who studied at the Vienna Academy under professors Griepenterl, Rumpler, and Lichtenfels. He exhibited regularly at the Vienna "Kunstlerhaus", the largest exhibition hall of the time. The near photographic technical nature of the work captured my attention and I had to have it for my collection.

In the coming weeks I would like to begin a journey with you through my collection and try to share with you my passion for the 19th Century Academic Nude.

Additional Photographs of the du Gardier Painting

Here are some additional photographs of the Raoul du Gardier painting before restoration.

Academic Nude Painting by Raoul du Gardier

Well, a nasty head cold kept me from returning to the Museum during my trip to San Antonio, but I shall return later this year and make the pilgrimage again. I have spent the ensuing time since the last post adding to my growing collection of Academic Nudes from European sources, two very nice mid-19th Century Academic Male Nude Drawings, an almost photographic, early 20th Century Male Nude drawing, and a superb painting of a Male Nude by Raoul du Gardier (1871-1952). (illustrated above)

There is a story behind this acquisition, its condition, and its future. My hunt for new acquisitions takes me mostly to European eBay sites (France and Germany) and to Auction sites in Germany and Hungary. By some miracle I recently found an obscure French site that lists works by working artists in France and a few individuals selling private antique works of art. When I saw this work listed I knew immediately that it was by the hand of a Master. I contacted the seller and talked her into a lower price. She was worried I would be disappointed in the condition of the painting, but I know a valuable gem when I see one, so the damage did not bother me.

There is just something in me which moves deeply when I see the work of a master. Mastering the Nude is a requirement of every Art School I know of, and believe me, it is not an easy task. I know that from personal experience in the studio. There is something so poetic and so beautiful about a well executed nude study.

Well it took a month of waiting to finally get the painting, but boy was I excited to see this painting finally in my happy hands. The seller had been given the painting by an elderly man who was a friend of her Grandfather's and who had been a collector for many years. He had been a Museum guard and had a small collection of works remaining as he neared death. The painting ended up in her attic for thirty years until she decided to list it and sell it.

If you look closely, you will see an inscription in china marker on the lower left side of the painting, which is an important clue to the identity of this unsigned work. In French, the inscription reads: "Raoul le Boucher, a pupil of G. Moreau in 1800, bought at the death of father Letraz, attendant at the museum." The seller had taken the painting to Drouot, one of the most important Auction and Appraisal Houses in France, and had it appraised and authenticated to the late 19th Century. No indication of who the artist may have been.

The seller, I believe, mistakenly thought the inscription on the painting referred to the model and subject of the painting. Well, from experience, I suspected immediately that the information actually referred to the name of the artist and could not figure out why no one at Drouot had picked up on that. The majority of models go into Art History anonymously, so that let that line of reasoning out. Back to square one. A quick Google search of Raoul le Boucher, of course, brought up nothing. Alright, the name Raoul is not usually a French name but the name G. Moreau (Gustave Moreau 1826 - 1898) is well known and could easily be researched and so could the identity of his pupils. Logic and the notation on the painting holds that this mysterious Roaul le Boucher was at one time, during the manufacture of this painting in particular, a student of the great master, most probably during the artist's youth. Back to research. This painting is obviously an academic work from the Academie des Beaux-Arts in Paris where Moreau taught, most probably from the mid-to late 1890's. A little research on Gustave Moreau indicated he was elected to the Academie in 1888, taught drawing and painting from 1892 to 1898, and was considered to be the last great instructor there. He taught many of the later French Masters, including Georges Rouault, Henri Matisse, Albert Marquet, Henri Manguin and Edgar Maxence. Logic holds that the mysterous Raoul le Boucher was amongst some pretty notable company. Admission to the Academie des Beaux-Arts in Paris was indeed prestigious and the artistic endeavors coming out of that institution had to be impressive.

My next search was pretty simple. I Googled "Raoul pupil of Gustave Moreau" and bingo up comes Raoul du Gardier (1871 - 1951). His resume is indeed impressive, although at one time he was almost lost to obscurity. Of French parantage, born April 1871 in Wiesbaden, he died October 16, 1952 at Pornic. He was a student of Theobald Chartran and Gustave Moreau. He exhibited at the Salon of French Artists in 1894, 1897, and became an Associate from 1900 on. The end of the Great War marked his first commercial success. He traveled to Egypt and the Indian Ocean and did illustrations for commercial magazines. He traveled extensively in the French colonies and became famous for his Orientalist paintings. In 1923 he was appointed "Painter of the Navy". He also specialized in Marine Paintings. He exhibited internationally in San Francisco, Munich, Amsterdam, Pittsburgh, Rome, and Paris. In the early 20th Century, du Gardier turned his attention to contemporary life and produced lively images of Socialites at play. Interestingly, he was one of the artists appointed to decorate the French Passenger Liner Normandy. After his death in 1952 his work slid into obscurity and it was not until the recent revival of interest in the Orientalist Movement paintings that his work is again appreciated and valued.

As far as the future is concerned, the painting will be on its way to a restoration laboratory next week, which will hopefully return it to its original glory and increase its value. You never know what you will find when you look in all the right places.